Background
Jean-Philippe Worth combined two contrasting versions of a Turkish-inspired palmetto motif in this sumptuous reception dress. Worth was so taken with the velvet that he incorporated it into a fancy dress costume he personally wore as Capulet in 1898. The bodice of the gold and cream princess-cut gown is overlaid with a bib of hand-made lace. Intended to slenderize and elongate the silhouette of a large-scale client, velvet panels voided in the same motif are tacked to and fall from the shoulder, resolving in a fringed and jeweled hem.
Description
Dress: Princess line, floor-length with train; boned, fitted to waist, skirt flat in front, fuller in back; wide square neck; sleeveless, chiffon puffs at top and lower armhole edges; integral floor-length velvet floating panels, gathered at shoulders, exposed selvages, self fringe at ends with applied rhinestones and beads, pink satin lining; center back lace-up closure.
Bib: Lace, circular; waist-length; square neck.
Garment structure
The panels are softly gathered over the shoulders and tacked front and back. There is a puffed bowknot at the back shoulder, from which the train-length velvet panel falls. The puffed chiffon applied to the armhole is in two overlapping halves. The bottom half is supported by an underarm-shield shaped brocade panel and acts as a modesty piece. The upper half supports the lace bib at the shoulder. The princess dress panels are lightly shaped to the hip by internal boning and fall freely from hip to hem. The dress laces at center back and is lined in yellow silk.
Anonymous Gift, 1942.

Background
An adaptation of the more sober and businesslike male approach to dressing, the tailor-made suit easily found its way into the wardrobes of late-19th century enlightened woman. The most common early cuts combined stylish short jackets with gored trumpet skirts and were accessorized with crisp linen or patterned cotton shirtwaist blouses. Here Worth modifies the innate simplicity of this formula to interject the formidable stitching and tailoring skills that would legitimize the cost differential between his version and the one produced in a Ladies’ Mile department store workroom.
Description
Jacket: Princess line, jacket and vest effect; calf-length; diamond and circle embroidery at center front, neck to waist, box pleats either side of center front and center back form interlacing strapwork at waist; high velvet neck, octagon and spoke embroidered mock collar; gigot sleeves, puffed and box-pleated upper arm to elbow, fitted to wrist, applied velvet band and three velvet buttons below elbow, notched opening at wrist, velvet inset, gilt and octagon and spoke embroidery; damask lining.
Skirt: Trumpet-shaped, floor-length, slight train; topstitching in Greek key motif at hem; center back hook-and-eye closure; taffeta lining.
Garment structure
This tailor-made suit has a calf-length princess line jacket which is trimmed with strips of embroidery with an octagon and spoke design. The trims were first embroidered in silk floss, chenille, and metallic chain on pale blue velvet. The velvet was then trimmed away close to the embroidery. The trims were finally applied to the jacket by hand.
Embellished with a topstitched Greek key motif at the hemline, the trumpet-shaped skirt has a slight train. The skirt has a separate shaped waistband and a taffeta lining with a dust ruffle. Separate closures at center back for the skirt and the lining fasten with hooks and eyes.
Anonymous gift, 1987.

Background
Rather than the vivid jewel colors so frequently favored by Maison Worth, this afternoon dress turns to the graphic effect of simple black and white. The staggered widths of its woven stripes provide an optical resonance at the converging, mitered seam joins. The vision that has placed the most powerful seaming at the dress’s center front exemplifies the artistry and precision dressmaking that are emblematic of the house.
Description
Bodice: Boned, fitted; waist-length, double breasted; low, round neck, chiffon fichu, lace ruffle; satin bow at center front bust; below-elbow length sleeves, gathered at inner elbow, gathered tulle undersleeve, lace engageante at opening; V-shaped satin girdle extending into center back bow with floor-length streamers; enamel buttons (not original to garment); center front hook-and-eye-closure.
Skirt: Trumpet-shaped, flat in front, full in back; floor-length with train.
Garment structure
Although more modern and straightforward in attitude, the dress retains many features of the late 1890s, including its boned bodice and controlled waist and the flat-front, floor-length skirt with its sweeping rounded train. The bodice front folds down at the neck edge, in semblance of a collar, and is finished with a black satin bow. The center front hook-and-eye closure is concealed beneath an off-center decorative overlap. The V-shaped girdle on each side is fashioned from black satin ribbons that are pleated into the desired shape; they extend to back, forming a bow with hem-length streamers. The below-elbow, tube-shaped sleeves are cut with a slight fullness at the top and are trimmed with a self-fabric bow and a gathered lace-over-tulle flounce.
Gift of Mrs. Donald P. Spence, 1974.

Background
An extreme example of the atelier’s penchant for decoratively showcasing selvages, this gown relies on full-width warp-printed floral ribbon streamers as its primary point of interest. Measuring 10½ inches selvage-to-selvage, the customized ribbons are not only allowed to flow freely from the skirt’s waistband but are also draped diagonally to comprise its bodice, gracefully resolving in a rounded bow trailing behind.
Description
Bodice: Chiné silk; boned, fitted, waist-length, center front and center back points; wide, square neck, tulle and pleated yellow satin inset at front; lace ruffle over shoulders; sleeveless, puffed and ruched chiffon and lace at armholes, yellow satin bow at left shoulder; chiné rosettes with streamers either side center back waist; center back lace-up closure.
Skirt: Cream satin; floor-length, slight train; overlapping floor-length ribbons at sides and back; ruched chiffon at hem all around.
Garment structure
The closely fitted, waist length bodice front is made entirely from a single width of a horizontally draped ribbon. The bodice back is comprised of seam and shaped vertically oriented ribbons. The front neckline is trimmed with a draped satin band. All seams are boned with the casings sewn by hand to the seam allowances. Chiné rosettes and streamers are attached on either side of the laced center back closure. The skirt is fabricated in cream satin and applied all around with overlapping full-length ribbons which fall freely from the waistband.
Worn by Miss Sarah Cooper Hewitt.
Gift of Princess Viggo, 1930.

Background
The richness of the jewel-toned velvets produced at the end of the 19th century in France, obviated any need for embellishment. Here Worth has showcased the powerful ruby red of this evening dress with a simple, sleek skirt and stylized, wired bow sleeves. Devoid of any telltale high-fashion details that might date the fashion as démodé, comparable austere, simple dresses were favored attire for formal portraiture and appear on many of the sitters portrayed by John Singer Sargent.
Description
Bodice: Boned, fitted, waist-length, draped surplice front; surplice panel at back; wide neck, V in front, square in back; short, exaggerated, open puffed sleeves, wired at opening and gathered into bow shape, tulle ruffle at armhole; integral cummerbund at bodice back; center back lace-up closure.
Skirt: Floor-length, flat front, pleated in back; pink ribbed silk lining.
Garment structure
Worth’s skillful use of draping and pleating showcases the shimmering highlights of this ruby-toned silk velvet. The beauty of this otherwise unadorned gown is derived from its vibrant color and the contours of the wearer’s figure. The closely fitted waist-length surplice-cut bodice features a wide neckline. The inner bodice features a pair of bones to create a rounded front busk. The bodice laces at center back and is concealed by two draped panels. The upper panel is sewn on the left side and fastens with hooks and buttonholed thread eyes on the right side seam. The back waist panel is similarly attached. The bodice is backed with taffeta. The seams are overcast by hand and the stay pockets are hand-sewn.
The taffeta-lined, flared skirt has a flat front with box pleats at the back. The bias-cut front panels create a lean waistline and flare at the hem. On the inside, two sets of taffeta ties are placed 4¾” and 15¼” below the back waist to direct the skirt’s thrust to the flowing, elongated back An inside pocket of lightweight silk is located at the back.
Anonymous Gift, 1942.

Background
Although freestanding butterflies were an established Worth motif, this example is extraordinary in its pairing of applied jet-outlined and sequined butterflies with dragonflies. It is a recent discovery that the gown’s original owner was Mrs. J. P. Morgan, Jr., rather than Mrs. Morgan, Sr. This a logical re-attribution in that its actual owner was herself a botanical artist, who designed and maintained gardens at both her country estate in Hertfordshire, England, and on Long Island.
Description
Bodice: Boned, fitted; waist-length, center front busk point, center back tails; gathered white net plastron; square neck; black net sleeves fitted to elbow, engageante-style from elbow to below wrist.
Skirt: Trumpet shape; floor-length with train.
Garment structure
The bodice laces at center front and is then concealed by the plastron, which fastens with hooks and eyes on the left side. All of the hand embroidery was the work of the Parisian embroidery concern Michonet, the forerunner of the embroidery couture house of Lésage. Taffeta dress shields are sewn in under the arms.
The trumpet-shaped skirt is floor length with a rounded train. The skirt’s silhouette is shaped by two underskirts—a chiffon skirt and a lined satin skirt. The hem of the net skirt is folded to the right side and covered with a small pleated net ruffle. The chiffon skirt has two very full ruffles, the wider atop the narrower. Both have selvage edges. The satin skirt has a taffeta dust ruffle: pinked at both edges, gathered, and applied by hand with running stitches.
Worn by Mrs. J. P. Morgan, Jr.
Gift of Mrs. J. J. Crain, 1944.

Background
During the mid-19th century the French term "confection" referred to ready-made unfitted or loosely fitted cloaks and outer garments, sold by purveyors of dry goods. This flowing coat, with its stylized out-scale rose motif, falls into this category. Its oversized repeat and percussive, jagged pattern evoke the bizarre silks of the early 18th century. Juxtaposed with a petal-pink brocade lapel facing, and trimmed with softly knife-pleated chiffon ruffles, all components meld to make this coat one of the sweetest, most feminine garments of the collection.
Description
Full, flaring from shoulders; floor-length, slight train; oversized notched lapels, double, standing Medici-style collar at back; long, wide sleeves with deep turned-back cuffs, white chiffon ruffles; puffed satin undersleeve, pink and white chiffon ruffles, pink and white ruched bands at wrist; V-shaped yoke, Watteau-style back; pink and white ruched chiffon and chiffon ruffles at yoke, collar, lapels, and center front.
Garment structure
Typical of Jean-Philippe’s designs for this period, this coat mixes historical metaphors, blending a raised 15th-century Medici-style collar with an 18th-century French Watteau-style back. Its boned standing collar can be worn both upright and framing the face, or falling. The back has a wide, dropped, lightly tucked pressed pleat which flares from the V of its yoke into a contained train. The long, wide sleeves are sewn into the cloak by hand. They have deep turned-back cuffs with white chiffon ruching and puffed satin undersleeves with pink and white pleated ruffles at the wrist.
Gift of Mrs. Robert D. Sterling, 1962.